Blistering, ferocious, harsh, abrasive, confrontational -- quite often, the adjectives that are typically used to describe , , and have also been used to describe the more militant side of . and post-1965 -- two examples of taken to a brutal extreme -- are not for the faint of heart any more than or . In fact, some of 's most devoted fans have a hard time comprehending his post-1965 work. But has, on numerous occasions, demonstrated that not all favors a take-no-prisoners aesthetic, and easily represents that kinder, gentler school of outside playing. This 2004 date, which finds and joining forces for a two-guitar duet, is not about in-your-face confrontation; instead, the guitarists favor a pensive, reflective approach to outside playing. is far from a straight-ahead album; the performances are as abstract and cerebral as they are spacy and eerie. But they aren't harsh or militant by any means; nor are they dense. While extreme density can give -- or, for that matter, 's -- a claustrophobic quality, thrive on the use of space. Instead of trying to cram as many notes as possible into a solo, they choose their notes in a more careful, deliberate fashion. That isn't to say that the two guitarists don't improvise; improvisation and spontaneity are a major part of what they do on . But it's a thoughtful spontaneity -- a thoughtful way of exploring the abstract and the intellectual. Admirers of the school of outside expression will find a lot to like about the dialogue that enjoy on . ~ Alex Henderson